ChemInform Abstract: Kinugasa Reaction: An ′Ugly Duckling′ of β-Lactam Chemistry

ChemInform ◽  
2014 ◽  
Vol 45 (50) ◽  
pp. no-no
Author(s):  
Sebastian Stecko ◽  
Bartlomiej Furman ◽  
Marek Chmielewski
Keyword(s):  
Ugly Duckling

scholarly journals The Ugly Duckling Metamorphosis: The Ammonia/Formaldehyde Couple Made Possible in Ugi Reactions

2021 ◽  
Author(s):  
Thaissa Pasquali F. Rosalba ◽  
Samia Sayegh A. Kas ◽  
Ana Beatriz S. Sampaio ◽  
Carlos Eduardo M. Salvador ◽  
Carlos Kleber Z. Andrade
Keyword(s):  
Ugly Duckling

scholarly journals Missing the missing values: The ugly duckling of fairness in machine learning

2021 ◽  
Author(s):  
Martínez‐Plumed Fernando ◽  
Ferri Cèsar ◽  
Nieves David ◽  
Hernández‐Orallo José
Keyword(s):  
Machine Learning ◽  
Missing Values ◽  
Ugly Duckling

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

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